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Canadian songwriter and producer Jeremy Haywood-Smith needed an escape from his state of mourning when he began working on Slingshot, his most recent LP as JayWood. After the loss of his mother in 2019, and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for some forward momentum. "The idea of looking back to go forward became a really big thing for me _ hence the title, Slingshot." Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals, Slingshot is a self-portrait of JayWood at his surface and his depths. Musically, Slingshot reaches into sounds and styles Haywood-Smith has continued to explore throughout his catalog. "I think I made a really big deal to not pigeonhole myself," he explains. "Whatever is inspiring me at one point will work it's way into whatever I'm creating." Slingshot is an amalgamation of Haywood-Smith's many musical sensibilities, achieved with help from a crew of talented peers. Haywood-Smith wrote and performed a bulk of the track's instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon (on "Just Sayin") and Mckinley Dixon (on "Shine.") The album's penultimate track, "Thank You," was co-produced with Jacob Portrait of Unknown Mortal Orchestra. The song brings JayWood's sound full circle, offering something reminiscent of Haywood-Smith's earliest recordings, while flaunting that "The best is yet to come."

Nach dem Erfolg seines Debüt-Albums „Kid Krow“ (2020), veröffentlicht Conan Gray jetzt sein zweites
Studioalbum „Superache“. Der 23-Jährige gilt mittlerweile als eine der interessantesten Stimmen der
amerikanischen Gen-Z Pop-Kultur.
Fans können sich auf einiges gefasst machen. Conan selbst sagt über sein neues Album: „‘Kid Krow‘ was
just the introduction“. Mit „Superache“ beginnt für Conan ein neues Kapitel seiner Karriere, hier möchte
er jetzt all das sagen, dass er sich vorher nicht getraut hat.
Einen Vorgeschmack lieferte schon seine Single „Memories“, die das Thema des Albums gut einfängt. Conan sagt: „(The Album is) just about that ache of being young and sometimes dramatic about the way that
you deal with pain and heartbreak and mourning.” Zusätzlich zu seinem neuen Album, können Fans seine
ausgefallenen Bühnenoutfits jetzt auch weltweit live bestaunen. Conan ist 2022 auf Welttournee, 4 Konzerte davon sind in Deutschland. Neben der digitalen Variante gibt es das Album als CD und Vinyl zu kaufen

"Emotional Rescue continues its 10th anniversary by again presenting Jorge Reyes’ collaborative album with Antonio Zepeda – a masterpiece and therefore, worthy of the time and effort to share.

From cult artist to becoming an essential musical discovery, Jorge Reyes is an example that no one discovered or owns the music beyond the writer and creator.

Growing up in Mexico’s 2nd City, he spent much of his life dedicated to travelling and learning music traditions and instruments. While at University to study Flute, he was involved in several influential bands of the era before going on to travel the world to further his learning, before returning to found the seminal Chac Mool group.

By the early 80s he went solo, exploring an increasing interest in the use of Prehispanic instruments mixed with electronics. In the opening songs, I-Cana and A La Izquiedra Del Colibri, the interplay between flute, guitar and vocals with TR-700, Poly 800 and DX7, all fuse his vision perfectly.

The additional contribution of Antonio Zepeda’s percussion creates a timeless mystique to the album, taking you on a journey deep in the mind of one of Mexico’s most important experimental artists.

Passing away at just 56, Jorge Reyes work was cut short, however he has left over a dozen albums to be explored. While critics increasingly question the valedictory of reissues, the premise on whether something should be heard is if it’s good. Therefore, let A La Izquierda Del Colibri be heard."

Though 420 was originally recorded and released in April of 2020, Galcher Lustwerk's pandemic project is an exercise in counting and patience. Originally from a 16 track, 69 minute release only available for Bandcamp for $69 (or $4.20 per track), the 420 project brings us practically brand spanking new Galcher EP, just under a different name. Finally at an accessible price (and including signature Galcher vocals in a majority of the tracks to boot) this vinyl release hopes to bring more fans who missed the original release to the 420 club.

Otis Spann is widely recognised as one of the greatest blues pianists of all time. Although Spann made a name for himself in Chicago by the mid 1940s, it wasn't until 1960 that he got the opportunity to record an album of his own. Otis Spann Is The Blues is not only the first solo album ever recorded by Otis Spann, it is also the first album ever recorded for the fledgling New York City based Candid Records label. Stripped down to just the two musicians this magnificent set showcases Spann's voice and piano.

Listening pays off. This is evident not least in the debut EP of Golden Pudel Club barman Paul Speckmann.

Long years behind the bar of the Hamburg club pub made him a willing listener to the numerous and diverse events there - from start to finish, something that very few "regular" clubbers can claim.

And these influences, from indie concert to electronica crunch, from jungle breakbeat massacre to dignified house groove, not only led to his varied DJ sets, with which Speckmann also made his house club happy, but certainly also served as inspiration for these wonderful tracks, which skil-fully oscillate between deep-dusty house, angereak indie dance and playful IDM jingling, often varying different elements in one track.

There is, for example, the delicately dreamy house hit "On The Flip", the latenight funk of "Star-ship", which would not be out of place on the Sunday MFOC floor, or the blurred indie ambient tune "Return", which captivates with campfire guitar and Sophia Kennedy on the vocals.

And these are just three of the seven tracks (or eight on the digital release) on the EP, none of which disappoint. Someone has listened carefully and learned his lessons. Chapeau!

Animal Records – founded by Chris Stein of Blondie fame – only ever released one album in its brief early-80s history, but what an album that was. Wild Style remains the most seminal soundtrack in hip-hop history, a snapshot of the scene as it evolved from the streets to the recording studio. But it’s not just a vital document, it’s also a damn good listen.

The line-up is a who’s who of those who stood out from hip-hop’s nascent block party days. The Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself, Busy Bee, the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks. The music captures the free-form, roaming nature of the film – it’s rough at the edges, it’s occasionally amateurish, but it’s completely, utterly glorious.

The original Animal tracklisting, of which this is a reissue, is full of recurring sounds and motifs, all of them co-produced by Chris Stein and Fab Five Freddy, stepping away from breakbeats to produce a sound that reminds you of them, while being totally unique. The epic drums are courtesy of Lenny ‘Ferrari’ Ferraro, a Vietnam vet and punk drummer whose career spanned stints backing Aretha Franklin and Lou Reed.

Over time, those sounds – the Charlie Chase and Grand Wizard Theodore scratches, the indelible lyrics - have become hip-hop touchstones, endlessly sampled and referenced, the bedrock of so much music to follow. That’s because the soundtrack perfectly encapsulated the essence of the film, the scene and hip-hop’s emergence from The Bronx to the attention of the wider world. Presented in this reissue with the original artwork, it remains the blueprint.

Since slipping out a decade ago, Fürsattl’s sole 12” on Claremont 56 has become an in-demand item, thanks to a mixture of its’ undeniable quality and the patronage of several high-profile, well-regarded DJs. Because of this, the label has responded to demand for a reissue of those two tracks and announced the release of a double-album of the krautrock-inspired trio’s works for the label.

Presented in a gatefold sleeve sporting Mark Warrington’s original 2012 artwork and limited to 400 copies, the 2022 album edition of Rheinlust not only tells the tale of the band’s now decade-long association with Claremont 56, but also features a previously unreleased track from the archives, ‘Für Paul’. Tucked away at the end of the LP, the track is amongst the most atmospheric in their catalogue – a slowly building number in which celestial synthesizer chords, ambient textures, echo-laden electric piano chords and lilting synth strings rise above a rubbery bassline and Jaki Liebezeit style drums.

It provides a superb conclusion to a genuinely evocative album of music you can get lost in, but it’s by no means the only highlight. Fittingly, the album’s first slab of wax boasts both tracks from Fürsattl’s hard-to-find debut 12”: title track ‘Rheinlust’, a driving but deep and hypnotic krautrock masterpiece full of elongated chords, restless bass, twinkling motifs and cascading electronic melodies, and the wonderfully epic ‘Links Der Pegnitz’. Clocking in at just under 15 minutes, this sublime excursion features band members trading glistening guitar and colourful synthesizer solos over a funky but laidback groove that sits somewhere between krautrock and cosmic funk.

The album’s second slab of wax showcases Fürsattl’s lesser-known tracks for Claremont 56, alongside the previously mentioned unreleased cut. These two workouts were originally featured on the label’s Claremont Editions compilations and further expand on their now trademark krautrock sound. There’s ‘Leerlauf’, a breathlessly up-tempo, weighty and immersive chunk of low-slung dancefloor creepiness that you’ll want to get lost in time and again, and the twangy and buzzing ‘Haru’, a birdsong-splattered affair that sounds like their tribute to krautrock originals Neu! and Harmonium. Like the rest of the album, these are seriously seductive outings that slowly build towards impactful, emotive conclusions.

IATT is pleased to once again team up with Black Lion Records for the follow up to 2019's Nomenclature; our new full length album entitled Magnum Opus. We've meticulously crafted this album to leap from where Nomenclature left us thematically.
The listener is catapulted from the 1700s (Arsenic Ways) further back in time to a much darker, older world and the esoteric sciences of Alchemy. It was in this time man aimed to harness the world around him, bending the natural elements in a quest to obtain power, knowledge, control, and even immortality itself.
Alchemy was the key to unlocking the secrets of existence and elevating one's self to the pinnacle of enlightenment through transmutation and manipulation of the earthly elements. It was only through the process of Magnum Opus (the great work) that alchemists could harness the elementals in their purest form to create the Philosopher's Stone - the key to power, enlightenment, and immortality.
Just as in alchemy itself, creating this album has been a journey of transformation for us; a period of great growth as individuals and as a unit. It's through adversity, struggles, and the forging of the elements - of literal blood, sweat, and tears - we strive to transcend and elevate to our highest selves, "the great work", Magnum Opus.

Sound Like: (Immolation, Spawn of Possession, Death, Emperor, Obscura)

It's dark in the forest. Especially in the »northwest«. You have to adjust all your senses. But once you have, the forest will take you in his arms. The forest will protect you. Just like Daniel Herrmann's first album for Live At Robert Johnson will protect you.

Herrmann is far from being unknown in the world of music - let alone in the art or photography world. In the music field, he is probably much more known under his Flug 8 moniker where he released five albums on Disko B, Doxa Records, Ransom Note, and Acid Pauli's Smaul Recordings. Under his given name, Daniel Herrmann's relationship with LARJ's label boss Ata Macias goes way back. As an artist and photographer Herrmann was the only one allowed to take pictures inside Ata's ROBERT JOHNSON club, thus creating an iconic series of pictures of clubbers and club life in general. Herrmann’s pictures of the partying punters themselves were presented as wallpaper all over Robert Johnson back in 2002.

With »Enroute« Herrmann enters new territory: It is his most ambient work up to today. And yes, it is a piece of work created during the lockdown. Herrmann's studio is situated in the outskirts of Frankfurt, near the forest - a quite remote place already in-between the Taunus mountain range. Imagine life during the lockdown in such a place … This is where Herrmann set up his former basement studio in the large living room with a variety of instruments besides a cozy fireplace spending warm light and warmth. A warmth that despite its seemingly rather "cold" atmosphere can be heard all over »Enroute«. Once you soak in the sounds (or get soaked into the sounds) of the first tracks like album opener »northwest«, »Fly By Wire« or the 11min »Dark Trace« you might feel this warmth too. A cold warmth you could say, yet a warmth that only modular systems and synthesizers can create.

There is a change of mood with »Intercontinental« - literally as it seems that Herrmann indeed is on an intercontinental journey here despite the strolls and long walks in silence through the Taunus forest. This is also the place where Herrmann took many photographs of the forest and its trees (to be seen on his Instagram account) - and the picture on the cover: This spooky yet fragile high seat in the mist in front of those trees. Yet darkness alone is not dominating this album. Even during these dark days, there was a bit of light at the end of the tunnel. And it shows in the beauty of »Bouncing Rays«.

»Enroute« is done all alone and in total isolation. And one can hear it. But it also invites the listener to be a part of this lonely world. And we all know that being lonely is made easier with someone on your side - »Enroute« to a better place. A place that isn't lonely at all.

PS: For all digital music lovers we have included two bonus tracks: The GLOK remix of »Bouncing Rays« and Herrmann's clattering and creaking tune »Economy« - enjoy!

Well, sometimes the mountain goes to Mehemet, not the usual other way round. After years spent chasing soul Artists on the other side of the world we managed to find one right here in Rome, at the heart of our beloved boot-shaped peninsula. And boy what an Artist! Just a few bars into "Let You In" and that Warren-G style flavours back to my ears like if it still was a saturday night in 1994 and we were packing 12" and heading to dj at our regular venue up north-east, the Rototom. A few bars in and soon as I hear the chorus it instantly becomes a Tesla Groove release. Like many a true Soul singers, the amazing Fatimah Provillon (a Newark, New Jersey native) started her musical career singing in churches at the early age of eight. She would later hone her singing skills in various choirs where she was both lead vocalist and choir member. As a teen she fell in love with hiphop music and began writing songs and performing in talent shows. As a songwriter she prefers to mix her soul and hiphop roots to speak on topics ranging from heartbreak to consumerism. As a singer, her biggest influences include Gladys Knight, Sade, Patsy Cline, Lauryn Hill, Wu Tang Clan, and Nas. Fatimah is currently living and working in Europe with Rome, Italy, as her base as she tours performing live concerts and collaborating with deejays in house music productions, entering now our catalogue as a true headliner. Enjoy Mrs. Provillon folks, you'll hear her name more and more in the future!

Javonntte is back on Ten Lovers Music with a 7" following on from his three albums he did for us No Rush (2019), Runaway Galaxy (2020) and Flight 77 (2021). This limited 7" shows Javonntte in his best form to date with two amazing tracks for the summer kicking off with Wind Of Seven Seas, a killer track that just makes you smile. Backed up with the superb Orion's Belt. This is a collectors item for any fan of Detroit's finest Jazz Fusion artist.

The “Tumult Hands” duet is made by Jacek Sienkiewicz and Jerzy Przezdziecki - the producers
whose composition has - to a large extent- defined the Polish techno music. Sienkiewicz - as
early as Recognition - started his adventure with music in the late 1990s. Subsequent records,
already under his own name, were released, among others, at Cocoon Records, Trapez, Klang
Elektronik and WMFRec. Przezdziecki started publishing a little later. Over the last two
decades, he has been presenting various types of electronic music, among others, as Praecox,
Epi Centrum and Jurek Przezdziecki.
“Tumult Hands” has two EPs on its account – “Tumult Hands EP” (2014) and “Tropic
Factory” (2016). Both were published by Recognition. So a full record was a matter of time.
The album titled: “TH” (Recognition, 2022) has been prepared for many years. The repertoire
was created mainly out of improvisation. As artists themselves say, “it is the result of
discovering and accepting a chance event.” For both producers, close contact with
instruments was important during their composition; the type of interaction between the maker
and an electronic device. Individual works have been maturing for a long time. Paradoxically -
the lapse of time did not cause them to be ageing but vice versa - allowed them to mature and
gain natural weight.
“TH” brings very diverse music. In part, it is the repayment of the debt that Sienkiewicz and
Przezdziecki incurred towards the most creative techno period, that is, the 90s of the 20th
century. The lovers of experimental dance music from before the quarter of the century will
easily capture in the duet’s themes the art of Cristian Vogel, producers known from the tin
series of Chain Reaction record company or early recordings of Richie Hawtin (Plastikman,
F.U.S.E.). This is a very similar, non-standard approach to sound structure and an original
approach to rhythmic structures. Minimalist melodies, accompanying e.g. the opening of the
“enter TH” or “pow” set, contribute to the composition an element of some sublimity and
metaphysical anxiety. Obviously, it is still the dance music but the duet - to some extent by
abandoning the club functionality (understood in the techno convention) - has given its music
a definitely sophisticated, artistic elegance.
Publishing cooperation between such important makers, as well as high quality of recordings,
leads us to see “TH” as something more than just another techno record. It is an event and an
electronic adventure that all lovers looking for dance music will appreciate.

A deeply meditative soundscape for inner exploration and a dance of sonic textures. composed to be experienced inside a floatation tank, Noiro creates a moment of calm over the 50 minute concept record (2x 25 minute sides). Think Space-Music..
The debut LP is his first entirely solo Ambient Electronic LP, encouraged by the purchase of an old piano with warmth and plenty of character. Recorded in London during the sweltering summer of 2018, the final product is timeless and powerful, whether experienced afloat or just in a horizontal position.

Inside the tank is a whole different experience, touching on the euphoric. The depravation of other senses lead to the music stimulating the mind to fully transport the listener to another realm with maximum effect.

Feelings of immense calm and reassurance come from the experience. Intimate and delicate melodic moments let the mind settle and explore the ambient scape. Later moments build with a sense of the epic, where the listener is left feeling that any obstacle can be overcome.

This is the "lost" second album by hard-prog band T.2., featuring demos recorded at Decca Studios by the original line-up in 1970, just after the release of their debut masterpiece It'll All Work Out In Boomland.

Known also as T.2. and Fantasy, 1970 shows T.2. at their rawest, featuring the explosive guitar of KEITH CROSS, the powerful drumming and cool vocals of PETER DUNTON and the fantastic bass playing of BERNIE JINKS.

*Hard cardboard sleeve

*Includes insert with liner notes & photos

8 years after the release of his critically acclaimed latest album 'Bambi Galaxy', Florent Marchet is back. Since his debut, Florent Marchet has continued to produce and create for cinema, theater, literature... and to tour with multiple projects and original creations. He has become in the space of a few years one of the finest feathers of French song, and one of the most productive and singular artists of his generation. With this new album, the first on Labréa / Wagram, Florent Marchet reconnects with tradition and modernity. This album is a real journey. Composed of 13 tracks exclusively recorded in his own studio with sound engineer Loris Bernot. He has a duet with the artist PR2B.

Mark Korven's original soundtrack for 'The Lighthouse,' starring Robert Pattinson and Willem Dafoe, marks his second collaboration with director Robert Eggers (The Witch).
"Robert Eggers and I were rather like the two wickies that went insane in The Lighthouse, musically speaking. We travelled to some very dark harmonic and textural places. We both enjoy not just breaking the rules, but blowing them to smithereens. The spirit of experimentation was always present."
-Composer Mark Korven


"Composer Mark Korven and I developed a shorthand working together on The Witch. This made collaborating on The Lighthouse an incredibly enjoyable process. But it was not without its many challenges. Originally, I wanted a score with no strings at all. The Witch soundtrack was so string-prominent that I wanted a full departure. I only wanted horns, pipes, conch shells, concertina - things that sounded like the sea - or the lighthouse station's ominous foghorn. It would be a minimalist aleatoric soundtrack with a nod to sea shanties and ancient Greek music. As Mark and I embraced the sound of big brass sections, it quickly became a maximalist aleatoric soundtrack.